S T A T I
Vo lume 12
C. Carey Cloud, age 20
C. Carey Cloud
East Brunswick, New Jersey
Who really created
the pop-ups for the
Blue Ribbon books —
was it Harold B. Lentz
or C. Carey Cloud?
According to Cloud's
Cloud Nine: The
Dreamer and the
Realist, he did. He
"I designed a
novelty for children,
and my search for a
market for the item
led to Sam and Ira Gold, who represented the Blue Ribbon
Book Publishers in New York. They didn't care much for
my concept, but they were looking for novel juvenile book
ideas. We eventually devised the pop-up book; the
leverage created on opening the book pulled up an action
picture in the center spread.
"I later obtained two patents on the idea. The Golds
took my first sketch to Blue Ribbon Publishers. They were
elated over the idea and wanted several books. This is
when I started to smoke better cigars.
"Sixteen-hour workdays were required to produce a
book on schedule. When one book was completed, another
assignment was waiting. I made seventeen books in twelve
months. We made pop-up books out of all the Mother
Goose characters. Then we made some using famous
comic strip characters.
"Ira Gold remarked one day: 'We have action, now if
only we could get sound.' My next book was Terry and the
Pirates. I created a pop-up showing Terry rising from
behind a rock, aiming a pistol at the reader. Then I went
to a novelty store in the Palmer House and purchased a
book of fake matches.
Continued on page 2
Frankfurt Book Fair 2003
Books to Play With... and Toys to Read
Part 2 of 2
Part 1 of this article appeared in the February issue.
New from continental Europe:
Since Russia was this year's country of special attention
("Schwerpunkt") in Frankfurt, I had hoped to see some new
Russian pop-up books. But going through the rather large
area where the Russian publishers showed their products, I
found just one small shelf with some 15 Russian-language
pop-up books. All of them were recognized to be co-editions
of the Italian fairytale books published by Dami Editore:
colorful, sideways opening mass-market books with simple
cut and counter-folded three-dimensional scenes. Nothing
could be found like the (simple) 3-D books with the stories
of Tolstoy, Majakovsky, Marschak, and others that were
published in the 1970s and 1980s under the Soviet regime.
Each of the earlier books showed the peculiar Slavic, or
naive, rustic Russian peasant art that make the books loved
by (some) collectors.
The first designs of pop-up books by the Russian paper
engineer Nickoly Nemzer seen in Frankfurt last year, have
developed into a series of four books and were displayed by
the Belgian packager C4Ci. They will be published spring
2004 hidden into textbooks by Pieter Mans and Mario Boon.
From the inside of the padded back covers of the books, into
which they are inlaid, Nemzer' s egg-shapes can be removed
to be unfolded into new-born beasts: What's in the Cave?,
What's in the Attic?, What's in the Castle?, and What's in
The publishers from Germany that published nice (also
original German) pop-up books in the past - like Ars
Edition, Schreiber or Coppenrath - now seem to have
completely abandoned this market. It was at the stand of
Gerstenberg Verlag, the publisher of quality children's
(picture) books, that we found a new book from the only
German paper engineer, Antje von Stemm: Olios Welt
(Olio's World; 3-8087-5032-7) with text by her friend
Franziska Biermann and illustrations by "Brilliante Tochter"
(Brilliant daughters), the designing company of the two.
Continued on page 10
The Movable Book Society
Movable Stationery is the quarterly publication of the
Movable Book Society. Letters and articles from members
on relevant subjects are welcome. The annual membership
fee for the society is $20.00. For more information
contact: Ann Montanaro, Movable Book Society, P.O.
Box 11654, New Brunswick, New Jersey 08906 USA.
Daytime telephone: 732-445-5896
Evening telephone: 732-247-6071
e-mail: montanar@rci. rutgers. edu
The deadline for the next issue is August 15.
Cloud , continued from page 1
A cap exploded when the matchbook was opened. I
removed the matches and glued the matchbook in position
under Terry. When the
book was opened and Terry
popped up with pistol in
hand, the hidden
matchbook went 'BANG!'
"I presented the book to
Ira. He opened it. His
reaction was unexpected —
he almost fell from his
chair, his composure
destroyed. Ira's response
:_j:--*.-j l _ — *
muicaicu uc was itvi
pleased with the idea. I
remarked, 'You said 'get action' and I gave you
action. 'Slightly mollified, Ira growled, 'Yes, but not that
kind of action.' I didn't dare let him know it was only a
An aside is added here because Sam Gold [I can find
no reference to Ira] had an interesting role in this and
related developments. In 1920 Gold, then 20 years old,
began working for Whitman Publishing Company, then
one of the largest publishers in the United States. At
Whitman he created and developed children's books. Just
two years later, in 1922, he moved to Chicago and started
the American Advertising & Research Corporation
producing children's books, premiums, direct mail, and
displays. Sam was a born salesman. His revolutionary idea
was to market products to adults through their children.
To do that he created point-of-purchase displays, posters,
direct mail, and radio scripts directed at children. He also
contracted with food companies to produce small toys as
premiums. Throughout the next two decades he sold
premiums to General Foods, Kellogg's, Quaker Oats, and
others, and by 1949, according to an article in Life Magazine
(April 19, 1949), Gold was the "Premium King."
In 1934 Gold created and produced the Mickey Mouse
Waddle Book for Blue Ribbon Books and later arranged the
license for The Wizard of Oz Waddle Book. "It was also in
1934 that Sam created and produced a pop-up book
containing comic characters for, once again, Blue Ribbon
books. He handled the creation and marketing and negotiated
the licensing with the comic characters. He arranged the
licensing and comic character's artwork with his friend Al
Leowenthal, head of the Famous Artists Syndicate, and his
friend John Dille on the Buck Rogers pop-up book. Tarzan,
Orphan Annie, Mother Goose,
and Little Red Riding Hood
titles were also produced. Sam
did the marketing plan for the
salesmen on how to sell these
books in different circulars and
advertisements, and he even
designed and produced the
display counter stand." 2
the v ^©p^tiF-''
So what is the relationship
between these three men:
Harold Lentz, C. Carey Cloud,
and Sam Gold? All that is
known about Lentz is that he
was an artist from Toledo,
Ohio, who worked in the
juvenile art field and served as art director for a Cleveland
bank before beginning work with Blue Ribbon Books. Articles
The Story of Little
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Lentz created the illustrations for ten pop-up books and is
credited with preparing all of the dummies for the
Cloud was born in central Indiana and even as a young
child his only real interest was art. After leaving school in the
Is* grade, he worked at odd jobs and then in his late teens
began his formal art training by investing $25 to study with
the Landon Correspondence School of Cartooning and
Illustration. That experience led to a position as a staff
cartoonist on the Cleveland Press, and later he became an
illustrator for an advertising agency. By the early 1930s he
was out of work and seeking ways to earn a living to support
his wife and three children. It was during that period that he
designed a novelty for children that he marketed to Sam Gold.
The work with Gold led to the creation of pop-up books. But
working on the pop-ups must not have been of much
importance to Cloud as in his 154-page autobiography the
only thing he wrote about that experience is the five short
paragraphs shown above.
Perhaps the Blue
Ribbon books were done
collaboratively and all
three men were
involved. We know a
few things: Cloud held
patents on some of the
obtained the licenses for
the cartoon characters
and marketed them to
Blue Ribbon, and both
Cloud and Lentz worked
on the illustrations and pop-ups. What can we tell from
looking at the books? In each of the Blue Ribbon books the
illustrator is prominently named on the cover or the title
page, but, as was the custom, the person who created the
mechanical was not identified. Cloud is identified as the
sole illustrator of two books - The Story of Little Black
Sambo, 1934 and The Tale of Peter Rabbit, (1934), and as
joint illustrator with Lentz on three others - Goldilocks
and the Three Bears, ; Puss in Boots, 1934; and
Little Red Ridinghood, 1934. Yet by his own account he
worked on 17 books in 12 months. Since the creators of
cartoon characters were listed as the illustrators of their
books and no paper engineers were identified, we cannot
know for sure who produced the actual art work nor who
did the pop-ups.
Cloud, date unknown
career. Cracker Jack had been importing toys from Japan for
over 30 years and wanted to stop the practice. They had no
source in America that could produce the supply they needed.
Research done about Cracker Jack toys has revealed that
Cloud designed over 289 different toys in his 24 years with
the company. They included cardboard figures made by
pushing out perforated parts and folding along dotted lines,
such as chickens, rabbits, little girls in fancy dresses, trucks;
"minute movies"; "twirlies"; plastic figures; and countless
games and optical illusions. 4 Cloud continued to make
Cracker Jack toys until 1962 and by his own estimate,
measuring toys by the pound, he created, produced, and
delivered about 700 million toys to The Cracker Jack
Company. 5 In one year alone 45 million toys were turned out
from his designs. 6
Throughout his adult life his paintings played an
increasingly important role. Following his retirement he
devoted his full time to art, working in a style he described as
"decorative realism." 7
But, back to trying to answer the question of who created
the pop-ups, since all of the contemporary articles published
about the Blue Ribbon pop-ups in the 1930s identified Harold
Lentz as the creator, it seems only right to continue to identify
him with the books. C. Carey Cloud was obviously an
important contributor to the pop-ups but the question remains
as to why he was not recognized in the publications of the
1. Cloud, C. Carey. Cloud Nine: The Dreamer and the
Realist. Cloudcrest, Nashville, Indiana, 1983, pp. 48-49.
2. "The Premium History of Sam & Gordon Gold: Good
hake_gold.html. (accessed December 23, 2003).
3. "These Pop-Ups! A New Sensation in the Field of
Children's Books. The Publishers' Weekly, December 3,
1932, p. 21 12.
4.Brooks, Ralph L. "Year 'Round Santa Claus." The
Indianapolis Sunday Star Magazine, October 29, 1950, pp.
The production of Blue Ribbon pop-ups did not last
long; and, after working only a few of years on the books,
Cloud was out of work again. The Depression caused him
to lose his home, but he was not defeated and it was
because of his next job that he would be remembered. By
1937 Cloud was doing artwork through the advertising
department of The Cracker Jack Company and the
manager suggested he talk to the premium department and
with the buyer of toys. That meeting was to change his
5. "The Premium History of Sam & Gordon Gold: Good
as Gold."http://www.gemstonepub.com/hake/hakeguide/ hake
_gold.html. (accessed December 23, 2003).
6. "Full Cycle." Design, May-June, 1965, pp. 38-41.
7. Brooks, Ralph L. "Year 'Round Santa Claus." The
Indianapolis Sunday Star Magazine, October 29, 1 950, pp.36-
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Wehr's Popeye and the Pirates
My Three Favorites
After much of the usual deliberation, mulling
over which category to choose, I decided on three books
that best utilize movement to enhance and extend the
story. I chose two movable books and one pop-up book.
I will begin
with the first
Wehr's Popeye and
the Pirates. I love
all of Wehr's books,
but my favorites are
the ones that
involve the greatest
movement in one
illustration. It was a
toss-up between The Cock, the Mouse, and the Little Red
Hen, The Animated Circus Book, and Popeye and the
Pirates. However, I chose Popeye and the Pirates because
it took an "animated" cartoon, and "animated" it in paper.
Popeye and the Pirates, copyrighted in 1945 by
King Features Syndicate, created and produced by
Dunewald Printing Corp., was illustrated by Sagendorf
and animated by Julian Wehr, probably one of the few
times Wehr didn't do the illustrations himself. It has four
pages of animation, two of which are activated by a single
tab in a typical side-to-side direction, and two of which are
activated by a tab that moves in all four directions; up and
down and side-to-
side. These two
separate parts of
remarkable to me
is that the four-
way tab creates
characters with life-like qualities, and gives the
impression that one is watching an actual feature cartoon.
I am also impressed with the efficiency with which Wehr
is able to create this effect, using thin, cheap paper and a
single tab. Of course, his use of the four-way tab is not
unique to just this book, but I wanted to acknowledge the
extra effect it had on an "animated" cartoon.
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Wehr's The Cock, the Mouse,
and the Little Red Hen
Scene from Magnus the Magnificent
I can't leave the discussion of Julian Wehr without
one more example of his ability to create a life-like effect. It
is his illustration of the sleeping fox in The Cock, the Mouse,
and the Little Red Hen. The four-way tab not only moves the
characters of the mouse and the cock, but also the fox's head
and chest, showing him breathing in his sleep, his chest
expanding and contracting, and his head nodding,
choice is Magnus the
one of a series of
books illustrated and
animated by Rudolf
Lukes, and published
by Bancroft & Co. in
the 1960s. Lukes uses
a unique three-
when the page is opened or turned. A paper lever that
originates on the left side, spans the gutter of the book, and is
attached to the movable parts on the right side, causes the
movement. One of the best examples is the illustration where
Magnus is in the process of reading his "enormous magic
book." As you open this page of the story, a page from his
"enormous magic book" also turns. It's so realistic! The Little
Polar Bear and Toby the Seahorse are two other books in this
series that employ similar complex actions.
My third choice is
also my favorite pop-up book
of all, Robert Sabuda's Cookie
Count, published by Little
Simon in 1997. It is the first
book I show visitors for the
"WOW!" effect, especially the
house. I'm captivated by the
book's variety of movements
and sense of humor. The page
that I go back to time and
again is where the mice are pulling the fortunes out of the
fortune cookies. Did you stop to read the fortunes? They're
hilarious! As in Rudolf Lukes' books, movement is created by
the act of opening each page, no tabs to manipulate as in
Wehr's animated books. But in Sabuda's books, the
movement continues, with sometimes a secondary movement
when the page is more fully opened. On page 2, with Coconut
Kisses, the mice appear only after the kisses have popped into
dimension and the book is almost completely open. I don't
want to leave out the spinning fork accompanying the
Pinwheel cookies, which continues to spin the entire time the
page is being turned. Can this be the precursor for the
spinning cyclone in Sabuda's The Wizard of Ozl His use
of continuous motion adds so much to the text and extends
the animated quality of the illustrations.
Well, those are my three choices for exemplary
movement. What's so nice about this continuing series of
articles on "My Three Favorites" is that different books
can be chosen by changing categories. So many other
categories and books come to mind . . . the most humorous,
the most artistically illustrated, and the most...well,
perhaps Ann will ask me again another time.
Illustrating Juveniles with
By Freeman Lewis
One of the most interesting recent developments
in the field of juvenile bookmaking has been the
introduction of "Pop-Up Books, " a descriptive title which
explains itself. For these novelties, with their three-
dimensioned illustrations, are a truly unusual departure
from the conventional; and their production comes under
the heading of "book-building" in the most literal sense
of the word.
In this article Freeman Lewis, of Blue Ribbon Books,
Inc., the publishers, tells how it's done. His analysis of the
manufacturing steps will be of general interest in the
The new "Pop-Ups" issued by Blue Ribbon Books
recently are of considerable interest to manufacturers and
book binders. They represent the first books with three-
dimensional illustrations ever made in America and
necessitate a return to hand work and slow production
which is unusual in this machine age.
To any one looking at the various old German and
English books containing three-dimensional illustrations,
it is obvious that one of the explanations of their quality is
the fact that the text paper used is so thin and flexible that
when the book is opened the illustrations will not stand
erect unless the reader holds the pages down firmly. In
addition to a stiff paper, the use of color also makes
necessary a smooth surface. And with the emphasis which
buyers place on bulk, a thick paper must be used if the
books are to be successfully merchandized.
To overcome these difficulties, an extremely hard
bristol board, surfaced on both sides, was tried at first. But
this paper was too hard and not smooth enough. Solid
soda pulp paper also turned out to be unsatisfactory.
Finally a paper was evolved which had a fairly soft wood
pulp core and a calendered soda pulp surface. This paper
has been very satisfactory.
The Pop-Ups themselves could, of course, not be made
from such stiff paper. They were printed separately and die
The expense of the plates on these books is considerable,
and to save as much as possible, all the color work is done in
line and Ben Day. [A method of adding a tone to a printed
image by imposing a transparent sheet of dots or other
patterns on the image at some stage of a photographic
reproduction process. Named after the inventor, New York
printer Benjamin Henry Day.]
The problem of binding the Pop-Ups is a difficult one.
There is so much extra paper in the center of these books that
it is necessary to insert tabs to add bulk to the shelf back.
These tabs are inserted under the pop-up pages during the
collating in order to avoid an extra hand operation of sewing.
In the 1932 editions four tabs were inserted; but as these have
not added enough bulk, the number will be increased.
A certain amount of glue is rubbed between the signatures;
and because the paper is so stiff, these signatures crack apart
after the book has been used a while. No way was evolved for
eliminating this trouble until after the books for this fall had
been completed, but the problem has now been solved for
Because the Pop-Ups are made to be opened fully and
frequently, it was necessary to have a back strip which would
always round. By using a light weight Jonathan board, this
cracking is avoided. And to protect this back strip from the
glue, as well as to give added strength, a Canton flannel is
used for super.
The combination of ingenious constructions, attractive art
work, and quality printing is largely responsible for the
success of the Pop-Ups. For this, too much credit cannot be
given to Mr. James H. Dulin, head of the Caslon Press and
printer of the books, and to Mr. Harold Lentz, artist and
designer of the Pop-Ups. Their cooperation made it possible
to save much expense and to produce a article new to
Reprinted from Bookbinding Magazine, February, 1933,
These people Are definitely
popping Up In San Diego.
Sharing >'o_ir Books with Others
'Stand and Deliver 1
The lySovabte Books of Raphael Tuck
Ek,ynt; Bocks en the T"ite-nE-t
The Making o^
i CEL?BRATJON ri
Donna and Peter Thomas
Histcrcal Movable Bocks
"he Becks o'jLliEnVv'ehr
"ne Books a? ]l lian Wehr
Will You Be There, Too?
THE Sih MOVABLE BOOK
SEPTEMBER 30 - OCTOBER 2. 2004
SAN DIEGO. CALIFORNIA, USA
Cracker Jack Pop-ups
While researching C. Carey Cloud's role in the
creation of the Blue Ribbon pop-up books, I did an online
search using the name Sam Gold, the man Cloud wrote
was responsible for taking the idea of the pop-ups to the
publisher. Finding references to Gold and his subsequent
role in producing Cracker Jack premiums led me to
Harriet Joyce and Jim Davis, both premium collectors.
They were each very helpful in my quest for information.
Jim supplied biographical data about Cloud and Harriet
sent me articles about Cloud as well as color photocopies
of Cracker Jack pop-ups from her collection. I appreciate
the help I received from both of them.
and forth and see the animals do their stunts. Every boy and
girl can easily get one."
Jack is the
of a candied popcorn
snack food that has
been on the market
since 1896. Their
slogan "A Prize in Every Box" began in 1912 when the
company started inserting a small toy into each package.
In 1928 The Cracker Jack Company encouraged
consumption of their product with an offer of a mail-in
premium. For 10 cents in stamps and five cut-out heads of
Sailor Boy from the Cracker Jack box, a boy or girl could
obtain the pop-up Animated Jungleland Book. To promote
the book, a prize folder, called a "Wiggle Wag," was
included in boxes of Cracker Jack. The "Wiggle Wag" text
read: "Oh, how you'll laugh. Piggie Wig sings. Donkey
Donk kinks. The birds do stunts. My, but you'll have a
great time reading and playing with the ANIMATED
JUNGLELAND Story Book." Cracker Jack issued eight
different 2" by 5'/ 2 " "Wiggle Wag" pop-ups featuring birds
and animals, each with an accompanying poem. The
Ducky "Wiggle Wag," for example featured a duck about
to stick a bright yellow bill into water. The printed page
was folded into four sections with the duck's head printed
across two sections and the duck's bill cut on the fold so
that it could "wag."
Just flap this page
and you will see
Our Ducky as a
He tries and tries
but fishy cries,
"Just catch me
if you can."
The instructions on the back of the folder stated: "If
you like this prize Wiggle Wag then you'll want the
JUNGLELAND Story Book. You just wag the pages back
I bay. D=dr>"fcv> J «.i *? 1
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Ducky "Wiggle Wag"
READ THIS, BOYS AND GIRLS! LOTS OF FUN. FOR YOU
• If m Gkc tfja fair, Wiggle Ws$ <hm
unfiuid »t-c the anramfi do Dfci tirnts.
Evoy (jry and ictri oi to3j. jci one
HCW TO GET THE FUNNY BOOK
5wJ 10c in Utrpps will, S bead, a( ihs
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Back of "Wiggle Wag'
The Animated Jungleland Book, published in 1928
by The Cracker Jack Co. of Peoria, Harrison and Sangamon
Streets, Chicago, U.S.A., measured approximately 4" x 5"
with two stories on 26 pages. In the first story, "Let's Give a
Party," Piggy-Wig and Billy Goat decided to have a party and
they invited their animal friends to do funny stunts. The four
illustrations with pop-ups were printed on a double-size sheet
with the extended side folded in to meet the binding. In the
first pop-up the animals joined in a circle to hear pig sing a
song. Each of the pop-ups
was a simple V-fold with
the animal printed on the
fold. The pig's mouth was
cut so that when the page
was opened he appeared
to be singing. In the next
pop-up scene the dancing
Donkey-Donk kicked his
hind legs up and down.
The text included
instructions: "If you hold
your finger behind the
crease and move the page
gently back and forth, you
can see how he danced." But donkey's dancing looked
dangerous to the other animals and they hurried out of his
way. The birds then joined in the fun and, in the second story,
"The Birds' Stunt Party," showed the animals a few tricks of
their own. In the final two pop-up scenes the owl's beak
opened and the mallard's wing flapped. It is an amusing and
entertaining little book and an interesting use of pop-ups.
Questions and Answers
Cedar Rapids Museum of Art "Emily Martin: Slices of
Life." May 15 - August 29, 2004. Gallery talk with the
artist on Wednesday, August4 from 12:00 - 1:00 p.m. 410
Third Ave., SE, Cedar Rapids, Iowa, www.crma.org.
Katonah Museum of Art "What's in a Book: A Book
Arts Exhibition." May 27 - October 23, 2004. "The
exhibition explores some of the ways that artists use books
as an expression of their art and as a medium for their
personal vision." Katonah Museum of Art, Route 22 at Jay
Street, Katonah, New York.
Musee Alexis Forel. "Pages Magiques des Livres
Animes." A Swiss exhibition of movable books.
Joining the series of European countries that brought
impressive exhibitions of movable and pop-up books
during the last couple of years, Switzerland proves to be
the next. On March 8, 2004 the exhibition Magical pages
of movable books opened in the Musee Alexis Forel in
Morges, some seven miles from Lausanne or 25 miles
from Geneva. On display are the highlights of a private
Swiss collection, completed with loans from the Swiss
Institute of Youth & Media in Zurich. Though the greater
part of the books shown represent the second golden age
of movable books, also included are some 20 interesting
titles from 1 890- 1 950. Every Wednesday afternoon at 3 :00
p.m. there is a guided tour with a demonstration of the
movement of the books. The exhibition continues until
September 26. For more information - and to see some
pop-up books in motion - www.museeforel.ch. Musee
Alexis Forel, Grand-Rue 54, 1110 Morges, Switzerland.
New Britain Youth Museum. "Paper Toys: An
Exhibition of Paper Dolls, Pop-up Books, Paper Soldiers,
Construction Toys, Games, Puzzles and other
Amusements." The exhibit, which runs through August,
includes over 200 paper toys ranging from 1870 to the
present and include books and toys from the collections of
members Frank Gagliardi and Robert Sabuda. New
Britain Youth Museum, 30 High Street, New Britain,
Cattermole 20 th Century Children's Books. Catalog 39.
9880 Fairmount Road, Newbury, Ohio 44065. Email:
Jo Ann Reisler, Ltd. Catalogue 65. 360 Glyndon St., NE,
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057.
Stella Books. Pop-up List. www.stellacatalogues.com/Pop-
A. Ann Montanaro issued a challenge to me in the February
2004 Movable Stationery concerning another use of a pop-up
in a movie (based on my article on the pop-up book used in
Sunday, Bloody Sunday - see the November 2003 issue). Ann
had read a newspaper article on pop-ups which referred to the
film Legally Blond 2. The article stated "...lawyer Elle Woods
champions animal rights in front of Congress with a pop-up
book. When lawmakers dismiss her, [she] can't believe her
visual aid didn't do the trick." Ann wanted to know what
pop-up book the character used.
Having not seen the film, I acquired the DVD version to
investigate. At first, I could not find the scene described when
fast-forwarding through the film. There were several scenes
of committee hearings and one in front of the full Congress,
but no pop-up. Viewing the film in real time from the
beginning allowed me to discover the referenced scene,
although it was not at all as described in the article.
The article was apparently written at the time the film
was in theaters in 2003, the writer mis-remembering what he
had seen. As it turns out, the scene in question takes place in
a hallway outside a Congressman's office (at 34:02 minutes
into the film). Elle is trying to convince that Congressman's
staff member to allow her to see him about her rights issue.
Elle says, "If you insist that Congressman Marks is
unavailable, perhaps you could take a look at my alternative
testing economics incentive chart." The staffer rolls her eyes
and shuts the door in Elle's face. Elle disappointedly holds up
what she has been carrying and says "But it's a pop-up!" At
that point she opens a handmade double page spread on her
signature pink paper. The spread has a chart with green lines
connecting various large dots. A simple V-fold of a large
hand-drawn dollar sign pops up from the center.
So this one turns out not to be a previously existing book
(and there's no credit for the paper engineer!)
OK, next challenge.
Roy C. Dicks
Raleigh, North Carolina
A. I saw your query in the latest Movable Stationery about
the pop-up book used in Legally Blonde 2, which my cousin
Marc Piatt produced. I asked his secretary if she had any
insight, and she responded that below the Props Dept. created
Los Angeles, California
Q. For a conference presentation on the movable books
of Raphael Tuck I need copies of images from books by
the publisher. If you have books in your collection and
could send me images, please contact me.
Q. Some time ago I found a pop-up item on eBay
described as being from the October 1926 issue of Child
Life Magazine. From the eBay picture, "The Pop-up
Pumpkin" by John Dukes McKee appeared to be printed
in two colors on a single sheet of paper, designed to be cut
out and assembled by the reader.
THE # POP-tm ffi J>UMPHJf.
This do-it-yourself item
from 1926 prompted me to
try to find out when the
term was first used to
describe a paper
mechanism that pops up.
The Oxford English
Dictionary (OED) defines
"pop-up" as both a noun
and an adjective. As a
noun, the first usage given
is 1906 with the following
reference: "1906 Spalding's
Offic. Base Ball Guide 126.
A trapped ball play was made when runners were on
bases, and a 'pop-up' fly ball was expected to be caught."
Until the 1970s the only references the OED gives for the
noun "pop-up" relate to baseball, toasters, or campers.
As an adjective, the OED lists the first occurrence as
1934 with a reference to a "pop-up target." The first
reference to a paper mechanism is given as "1963 S.
MARSHALL Exper. in Educ. iv. 153. Every illustration
is conceived and executed as a 'pop-up' scene."
Does anyone have a reference to a paper pop-up
mechanism prior to 1926? If so, please send me the
Q. At the New York Antiquarian Book Show I saw for
sale a copy of the limited edition of David Carter's
Nutcracker. It was issued in a box with an extra plate on
the cover and was signed by both Noelle and David
Carter. I know other books were issued in limited editions,
please include a list of them in the newsletter.
The 5 th Movable Book Society Conference
The times and dates of these presentations
may change to fit the presenter's schedule.
Thursday, September 30
4:00 - 5:00
Registration and reception at San Diego
Hilton Gaslamp District
Bus ride to Mesa College
6:00 - 7:00
View exhibition of artists' books - "Stand
Gallery Talk - Ed Hutchins, curator
Presentation of "Stand and Deliver" awards
Friday, October 1
Welcome - Frank Gagliardi
"The Making of the book A Celebration oj
Pop-up and Movable Books" - Adie Pefia
Books of Julian Wehr - Christiane Griffin-
Wehr and Paul Wehr
"Movable Books and the Internet" -
2:45 - 3:45
Artists' Books - Ambar Past
3:45 - 5:00
Sharing your Books with Others: Exhibits,
Book Groups, etc. - Panel discussion led by
Saturday, October 2
9:00 - 10:00
"The Movable Books of Raphael Tuck" -
Artists' Books - Peter and Donna Thomas
"Historical Movable Books" - Howard
Workshop - Emily Martin
Banquet - speaker David Carter
Livingston, New Jersey
1= AWFUL 2= POOR
3 = O.K. 4 = GOOD
5 = SUPERB
I am devoting most of Movable Reviews to books I
have received from Amazon, U.K. These pop-ups were not
available in the U.S.A. at the time this report was written,
but can be ordered at the above. Some are very special and
should be in any pop-up collection. Perhaps they will be
available in the USA in the future.
MAGICAL BEASTS A POP-UP ADVENTURE.
Illustrated by Anne Sharp. Paper engineering by Nick
Denchfield. Published by Macmillan Children's Books, a
division of Macmillan Publishers Ltd. Pub.: Oct., 2003 in
London. ISBN 0-333-99857-X. 14.99 pounds sterling. 24
x 32 cm. 16 pages. There are 3 double-page, stage type
pop-ups, 4 fully-assembled 3-D models and 13 press-out
magical beasts and other material to set up each scene.
This is a fascinating book which both children and adults
will enjoy. It has drawings and information about magical
beasts around the world, including the werewolf, hydra,
griffin, phoenix, centaur and many others. The models are
well-made and with one step an older child or adult can
make them 3-D. This is a wonderful way to learn about
the myths and legends of these magical beasts. Paper
THE NUTCRACKER: A
by Sue Scullard. Paper
engineering by Nick
Denchfield. Published by
Books, a division of
Macmillan Publishers Ltd.
Pub: Oct., 2003 in London.
ISBN 0-333-96 134-X. 14.99 pounds sterling. 27 x 27 cm.
10 pages. 5 fabulous double-page pop-ups and many
smaller ones. This is one of the best pop-up Nutcrackers
that I have seen. There is a tall pop-up Xmas tree and an
enchanting, elaborate Land of the Sweets. Pop-up presents
can be opened and everything is beautifully detailed. A
lovely book. Paper Eng.: Complicated and intricate.
Rating 1 4/2
POP-UP SPOOKY CASTLE. Illustrations by Steve Cox.
Paper engineering by Nick Denchfield. Publisher: Macmillan
Children's Books, a division of Macmillan Publishers Ltd.
Pub.: Oct., 2003 in London. ISBN 0-333-96133-1. 14.99
pounds sterling. 28 x 28 l A cm. One huge, elaborate, pop-up
spooky castle with a tower that rises up as the book covers
meet. There are wonderful figures to press out and a game to
play. Paper Eng.: Intricate and carefully done.
THE THREE LITTLE WOLVES AND THE BIG BAD
PIG: POP-UP. By Eugene Trivas. Ilustrations by Helen
Oxenbury. Paper Engineering by Keith Finch. Publisher:
Egmont Books Limited. Pub: Sept., 2003 in London. ISBN 1-
4052-0669-1. 14.99 pounds sterling. 27 !4 x 22 cm. 16 pages.
(If you order this book from Amazon, U.K. be sure to put
POP-UP in the title or you will get the story book only.) This
delightful book is full of pop-ups, pull-tabs, slides, etc. The
author states that his book is an attempt to overcome the
stereotyping of good and bad and it's done wonderfully. The
lovely illustrations, the soft colors and the well written story
make this a special story. Paper Eng.: Original and
Rating: D /2
THE VERY LAZY
LADYBIRD. By Isobel Finn.
Illustrations by Jack Tickle.
Published by Little Tiger Press.
Pub. Aug., 2003 in London.
ISBN 1-85430-873-4. 7.99
pounds sterling. 26 Vz x 24 Vi
cm. 16 pages. 8 pop-ups. This is a book very young children
would love to have read to them over and over. The pop-ups
are simple but colorful and there is a really sweet story which
will entice children. Paper Eng.: Modest, but well-done.
Rating: 4 /2
CREATIVITY: THE FLOWERING TORNADO. By
GinnyRuffher. Publisher: Montgomery Museum ofFine Arts.
Pub.: June, 2003 in Montgomery, Alabama. ISBN 0-89280-
040-2. $19.95. 22 x 16 cm. 14 pages. 7 pop-ups. This book is
a pop-up interpretation by multi-media artist Ginny Ruffher
of her installation at the museum on the theme of creativity.
There are seven unusual pop-ups. This is a wonderful book
for adults and a lovely gift for any artist. Paper Eng.:
Different and well-done.
POP-UP BUGS. By Sally
Hewitt. Illustrated by Chris
Publisher: Harry N. Abrams,
Inc. Pub. March, 2004 in
New York. ISBN 0-8109-
5032-4. $14.95. 30 x 24 Vz
cm. 12 pages. 6 wonderful,
giant, elaborate pop-up bugs
and a rhyming text will
make boys and girls squeal
with delight. The
illustrations are bright and fun. Paper Eng.: Terrific!
FISHING FOR THE MOON AND OTHER ZEN
STORIES. Text and illustration by Lulu Hansen.
Published by Universe Publishing, a division of Rizzoli
International Publications, Inc. Pub.: Jan., 2004 in New
York. ISBN 0-7893-0816-9. $25.00. 16 x 23 % cm. 18
pages. 9 double-page pop-ups. Within this book are 9
beautifully illustrated Zen stories. The art is painted with
subtle Sumi inks and the pop-ups provide each tale with
a 3-dimensional spread. Any of the stories shared with a
child would create a wonderful discussion. This is an
especially sensitive and lovely book and designed with an
understanding of its Zen source. Paper Eng: Perfect for
Frankfort Book Fair, continued from page 1
Like the last two books by Mrs. von Stemm on the strange
couple Fraulein Pop and Mrs. Up, published by RoRoRo,
this is a do-it-yourself pop-up book. The reader has to cut
out the figures on the last 20 pages of the book and
assemble them into pop-ups, pull-tabs, or flaps-to-lift and
then paste them in the right places in the book. An extra
interactivity is offered since there is a special website that
is an integral part of the reading of the story found at
Missed at the Fair but spotted by our fellow German
collector Peter Schfihle was another new pop-up book:
Alte Nationalgalerie in 3D (The Old National Gallery; 3-
9363 1 4-23-3) by Michael Lewitscharoff. Published by the
new Jovis Verlag, this book is on the history and treasures
of the famous Berlin Museum. The design and paper
engineering was done by the same team that was
responsible for that gem of paper engineering The Berlin
Pack. This book includes an additional booklet featuring
works from the collection and a set of postcards of its
masterworks. It also has a richly detailed pop-up of its
characteristic neo-classical building located on the "Isle of
Museums" in the heart of the new German capital. And
again, the pop-up opens and closes perfectly!
I thought it was peculiar to find here a nice
anthroposophical movable book - though in its third
impression here, the first dating from the 1960s - at
Mellinger Verlag from Stuttgart: Erde, Wasser, Luft und
Licht (Earth, water, air and light; 3-88069-237-8), a turning-
wheels book by Wera Bockemuhl. The four plates that
accompany the rhyming texts on each of the elements are
done in soft colors with strongly rounded composition typical
of the anthroposophical principles. They show alterations
within two openings when the wheel is turned with a small
window near the center of the
wheel and a wider one towards the
From Spain comes a couple of
nicely designed and illustrated
books by Alex Baena with,
respectively, a fold-out theater stage
and a circus ring built in and
additional press-out characters to
perform shows: Trap y Cleta en el
Teatro and Trap v Cleta en el
Circo (Barcelona, Beascoa
A collectible Spanish oddity is El Nazareno. Semana
Santa de Leon (The Man from Nazareth. Holy Week in Leon
- a small Spanish city; Ferres.net, 2003, no ISBN) a pop-up
book (a cover with one spread only) that has as its theme the
Christian Holy Week. It shows in pop-up the rather macabre
procession in which during this week in some parts of
Catholic Spain the suffering, cross-bearing Christ is carried
about on the back of tens of men, wrapped from head to foot
in black. Done by the Spanish artist Fernando Ferreras in
(apparently) a limited edition since the copy I saw was
numbered. He is preparing another pop-up La Esperanza
Macarena and they can both be ordered from
Remarkably, this year the
most new continental pop-up
books were found at the stands
of publishers based in France.
Could the great exhibition in
the Marche Dauphin, in which
the Paris antiquarian
bookseller Jacques Desse
earlier this year showed such a
marvelous survey of French
pop-up books have been
^^ t, K
The young packaging company of MFG Education
from Evry last year offered some first dummies and they
have now greatly enlarged their production. All of their
books are illustrated by Christian Hache and are paper
engineered by Jean-Luc Cherrier. They contain no fewer
than eight, sometimes even 10 spreads and are packed
with pop-ups. Some also have added pull-tab animations
in bright colors aimed at the market for young children:
1,2,3, Compte a la Ferme (1,2,3, Count at the Farm; 2-
84403-472-1); Les Couleurs des Animaax (The Colors of
the Animals; 2-84403-475-x) including a great giraffe
with a stepped neck; Le Chateau Enchants (The Haunted
Castle; 2-7502-0035-0); and Le Merveilleux Voyage (The
Marvelous Journey) All will be issued in 2004. Also in
preparation is a series of pop-up editions of the classic
children's books Pinocchio, The Beauty and the Beast
(with an innovative mechanism of self-sliding Venetian
blinds), Alice aupays des Merveilles from which a nice
dummy was displayed, and others. Surely it is a
production of desirable items to keep an eye on!
The Paris publishing house of L'Ecole des Loisirs had
three new theater books designed and illustrated by
Kimiko. (Kimiko is half-French, half-Japanese by birth
and was active in the haute-couture before deciding to
make children's books). She adds a nice three-
dimensional effect to her books by the use of a proscenium
arch, a pierced second layer and a backdrop, like the
compartments of a carousel book. Two years ago we saw
the first two parts, last year another two, and now she has
published three new titles: Hansel et Gretel, La Princesse
au Petit Pois (The Princess and the Pea), and Coucou
P&re Noel (Peek-a-boo Father Christmas). They are very
attractive books done in bold colors with a strong but
simple design and large color levels resembling poster art.
The same publisher has the funny Le Grimacier (The
Handbook of wry faces) by Dorothee de Monfreid. It is a
movable book that instructs young children on which face
to pull when asked to wash hands, to dress, etc. Offering
a hilarious repertory of the best grimaces, instructed by the
faces of humorous animals, it is made movable so the
child can practice an exact performance. Great fun!
An elaborate "Panascopic Model'Mike a pop-up scene -
measuring a whole 30x38 cm - of La Maison de Mireille
I'Abeille (The House of Mireille the Bee; 2-07-053904-0)
by Antoon Krings and illustrated by Virginie Fraboulet
and Thierry Buron, was shown by Galiimard Jeunesse
from Paris. Accompanied by a text booklet and four plush
characters, it was paper engineered in-house by Hua Yang
Printing. It is a great pop-up item featuring the well-
known bee character.
Finally I saw some desirable new products from
Christian Legrand, in my opinion an under-rated paper
engineer. He is of French origin but, with his company
ORCH-Print, works in Bangkok, Thailand. In 2002 the
companyofHemma, from Chevron in Belgium published two
great books designed by Legrand - that were apparently
missed by me: Une Journee a la Ferme: Un Livre en Relief
(A day at the farm: A three-dimensional Book; 2-8006-8205-
1) and Une Journee en Foret: Un Livre en Relief '(A Day in
the Wood: A three-dimensional Book; 2-8006-8204-3). Both
of these books offer detailed pop-up scenes to be filled by a
child with lots of cut-out figures that are inserted or stand up.
The figures can be stored in an envelope at the back of the
book. I think the young child will find it very pleasant to
make his own scenes over and over again. It will develop his
imagination, stimulate him to tell his own stories by naming
all the animals, etc.
I saw some other nice items designed and paper
engineered by Christian Legrand at another Belgian
company, the Brussels based Casterman. They have been
active for several years with French language co-editions of
pop-up books produced by Sadie Field Productions and
Intervisual. "Martine" is their rather sweet main character in
a series of books for girls that started in 1954 (!). They were
created by Albert Delahaye and illustrated by Marcel Marlier.
Meanwhile 53 parts have
been published and over
50 million copies have
been sold, mainly in
countries. They are so
well-known that I recently
heard questions asked
about them on a popular
Belgian TV quiz show.
Casterman has now
revived the sales of this
front list item by adding
novelties (such as cube
books) and all kinds of merchandise. Three nice four-
compartment carousel books that re-use the 1950s Marlier
illustrations were designed and engineered by Christian
Legrand, La Ferme de Martine (Marline's Farm; 2-203-
10681-6), La Maison de Martine (Martine's House), and
Martine en marche (Martine at the Market; both to come).
Most spectacular however is the inflatable paper merry-go-
round with mechanical music box that Legrand designed for
Martine: Le Manege de Martine (2-203-10662-4). It is a
variant of the earlier Christmas roundabout Das
Weihnachtskarrussell published in 2000 exclusively in
Germany by Coppenrath . Executed now in the typically 1 950s
colors, this one looks even more nostalgic. Casterman also
published a Dutch edition for the Flemish market as De
Carroussel van Tiny. It is a wonderful paper toy and a gem of
paper engineering using rubber bands that make the
roundabout pop-up at once automatically once the package is
Finally; My Best of the Fair.
I have kept my private favorite pop-up book to
conclude this contribution. Indisputably, my choice as the
best of this year's Book Fair was the other new pop-up
Alice: J. Otto Seibold's Alice in (Pop-up) Wonderland
(Orchard Books, 0-439-41 184-X). As a passionate lover
of Carroll's brilliant nonsense story from the 1860s, as a
collector of new but artistically illustrated editions of this
children's book classic, and as a pop-up afficionado, I
greatly appreciate this highly original version. Using the
"original text from the Lewis Carroll classic," as stated on
the front cover, the author didn't walk into the trap of
trying to excerpt the complete story once again. As a
reader I want my knowledge of the story to be taken
seriously; even more since the book offers extra
information, such as the opportunity to see and read "The
book Alice was reading when she was bored." The new
illustrations are by the acclaimed artist Seibold, the
creator of Olive, the Other Reindeer - a picture book that
is now an icon of modern children's book illustration
among the young
here. A fact I
when preparing a
conference on the
modern picture book.
For his Alice,
Seibold did terrific
nonsensical humor of
Carroll that is missed
in so many other Alice re-makes. For that reason it is
already now a classic in its own way. The more I look at
them, the more details and humor I see. The strange use
of perspectives (even sometimes conflicting), the
remarkable use of shadows, very appealing colors, great
lettering that very well integrates in the whole concept of
the spreads, shaped pages and ditto flaps that betray
themselves as flaps at second sight only, and hardly any
reminiscence of the all too well-known Tenniel images.
Equally well done is the supportive, not obtrusive use of
pop-ups, lift-flaps, sliding pictures, wheels, pull-tabs,
doors to open, an innovative three-dimensional scene that
hides between the pages (literally a "shadowbox"). It ends
with an extravagant pop-up final of the Alice - grown to
her full size again - as the center point of an ingeniously
unfolding wheel with the well-known Wonderland
animals seated into kind of carts as found at some fair
attractions. It is really a masterpiece of the paper engineer
James Diaz who did all the movements and pop-ups and
has been admired for years for his innovations and tricky
mechanics. His company White Heat produced the book.
What a marvelous solution he has found for the vanishing of
the Cheshire Cat till only its grin remains! This is my only
private 5+ rating of the season, for its design, its illustrations,
and its paper engineering alike. The only minus of the book,
I think, is the use of paper that is too weak. But it is forgiven
for all the good things that the book offers otherwise. Buy this
book, it is a must-have for any collector, however over
indulged he or she may be!
The following titles have been identified from pre-
publication publicity, publisher's catalogs, internet sources,
or other advertising. All titles include pop-ups unless
Amazing Pop-Up Stand-Out Dinosaurs. By Eugene Trivizas.
September. Egmont Books. $24.95. 1-4052-0801-5.
Bible Pop-Up Adventures.
By Tim Dowley and
Dudley Moseley. September.
Birthday Bugs: A Pop-
up Party. By David
Carter. Little Simon.
Chick Tock. Book
Company Publishing Pty,
8 x 10-inches.
SMITHSONIAN INSTITUTION LIBRARIES
Fiona Goes to Fairy School. September. 14 pages. 10 x 9
x 7-inches. Piggy Toes Press. 1-581 17-322-9
Flutter By. Book Company
Publishing Pty, Limited.
$14.95. 8 x 10-inches.
Harold and the Purple
Crayon. Harold Takes
a Trip: A Movable
Pop-up Book. $7.95.
Piggy Toes Press. 1-
Harotd TaKea a Trip
A MovaMc Pop-Up &OOK
The Hiccuping Hippo. By
Keith Faulkner. $12.99.
Dial Books for Young
/ know an Old Lady Who Swallowed a Fly. July 2004. 14
pages. Dimensions:10 x 8.25 x 11-inches. Piggy Toes
On Top of Spaghetti: A Silly Song Book. July 2004. 12
pages. 10 x 9 xlO-inches. $12.95. Piggy Toes Press.
Peanuts: A Pop-up
Celebration. By Charles
M Schulz (Based on a
comic strip by) Paige
Braddock (Adapted by)
Bruce Foster. August
2004. Little Simon.
Sarge in Charge. (A Busy
Bugz Pop-up). By Christine
Tagg. Silver Dolphin Books.
$12.95. 16 pages. 9 x 11-
Spring Is Here
4 f >H
Spring Is Here: A Barnyard
Counting Book. Little
Simon. $7.99. 14 pages. 7 x
Snappy Little Splashers. By
Derek Matthews. Silver
Dolphin Books. 8 x 10-inches.
<DIVE IN ANf> MAKE A SPLASH!
Speed Machines: A Pop-up
Book with Moving Gears. August 2004. Piggy Toes Press.
Tibetan Buddhist Altars: A Pop-up Gallery of Traditional Art
and Wisdom. By Tad Wise, Robert Beers, and David A
Carter. September 2004. Maple Tree Press. $21.95.
What's baking, Strawberry Shortcake? Penguin. $5.99.
White Houses Pop-Up Book. By Chuck Fischer. September.
Universe Publishing. $35.00. 0-7893-1064-3